allen peter christopher (17 Ergebnisse)

Hardcover. Zustand: Like New. Zustand des Schutzumschlags: Like New. First Thus. First Edition Thus, First Printing. Published by Flying Books, 1985. Quarto. Black cloth boards stamped in gold with cartographic endpapers. Book is like new; clean with no writing or names. Sharp corners and spine straight. Binding tight and pages crisp. Dust jacket is like new. 182 pages. ISBN: 0911139036. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions or if you would like a photo. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Southampton, New York. We Buy Books! Individual titles, libraries, collections. Message us if you have books to sell!

Unknown. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

171 pp.; 22.7 x 17.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Spring 1985 issue of October. Edited by Rosalind Krauss and Annette Michelson. Contents include: "Memoir of Hollis Frampton," by Barry Goldensohn; "A Portfolio of Photographs Letters from Framp 1958 - 1968 Erotic Predicaments for Camera," by Hollis Frampton; "Word Pictures: Frampton and Photography," by Christopher Phillips; "The Red and The Green," by Bruce Jenkins; "Interview with Hollis Frampton," by Peter Gidal; "Frampton's Lemma, Zorn's Dilemma," by Allen S. Weiss; "Propositions for the Exploration of Frampton's Magellan," by Brian Henderson and "Frampton's Sieve," by Annette Michelson. Very Good. Light rubbing, dust soiling, and scratching of covers with gentle bumping of corners. Contents clean and unmarked.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. 1st Edition. The jacket is a bit rubbed and edgeworn. Some light foxing inside the jacket and on the page edges and first and last few pages; otherwise internally clean and tightly bound. Our orders are shipped using tracked courier delivery services.

Zustand: New. pp. 406.

Hardcover. Zustand: New. Teacher's Edition. New 2010 Copyright In Hardcover Format, Tennessee Holt Science & Technology, Grade 7: Tennessee Teacher's Edition With Annotated Answers, Safety Guide, Labs And Activities, Teaching, Technology And On Line Resources, Units 1-3, Chapters 1-22, Science In Our World, Life, Earth And Physical Science, Annotated Answers, Index, Full Color Illustrations, Full Color Photography, 837 Pages And Pictorial Red And Yellow Cover Featuring Tack Runners, And Irises, The Tennessee State Flower, Tennessee State-Specific; Dimensions: 9.50"W X 11.50"H; ISBN 10: 0554009412 ; ISBN 13; 9780554009414 (2010 Copyright).

Encuadernación de tapa blanda. Zustand: Aceptable. 8º mayor. Rústica ilustrada con solapas. Portada, 551 págs. Contenido: Los sindicatos en una economía en decadenci: el caso del TUC británico.- Los sindicatos y la crisis económica: el caso de alemania occidental.- Los sindicatos en Suecia: las respuestas estratégicas al cambio y la crisis. Sello de expurgo en portada, sin afectar texto. Marca de celo en pie y cabeza lomo. Contenido en perfecto estado. 23-5.

Paperback. Zustand: Brand New. 406 pages. 9.21x6.14x0.83 inches. In Stock.

Zustand: New. Peter Gourevitch, Andrew Martin, George Ross, Stephen Bornstein, Andrei Markovits, Christopher AllenFirst published in 1984. This book represents a major study of union responses to the economic crisis of the 1970s and 1980s. Abjuring governmental or.

Gebundene Ausgabe. Zustand: Gut. 182 p. : ill., ports ; 25 cm. Hardback with dust jacket. Dj slightly rubbed, otherwise in very good condition. + + + Originalpappeinband m. Schutzumschlag. Schutzumschlag etwas berieben, sonst sauber und gepflegt. Keine Besitzvermerke. 090639337X Werktäglicher Versand. Jede Lieferung m. ordentl. Rechnung und ausgew. MwSt. Der Versand erfolgt als Büchersendung / Einschreiben mit der Deutschen Post bzw. als Päckchen / Paket mit DHL. Die Lieferzeit ist abhängig von der Versandart und beträgt innerhalb Deutschlands 3-5 Tage, in der EU 5 - 12 Tage. KEIN Versand an Packstationen. Körperschaften und juristische Personen werden auf Wunsch per offener Rechnung beliefert. ***ATTENTION U.S. CUSTOMERS: Due to the new tariffs, we are unable to ship packages to the USA at this time. Thank you for understanding.*** Sprache: Englisch Gewicht in Gramm: 550 en, Includes bibliographical references (p. [177]-178) and index.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In.

Zustand: New. pp. 402.

Vintage reference photograph from the 1969 film, showing Robert Frank, Peter Orlovsky, and Allen Ginsberg. Printed mimeo snipe affixed to the verso, along with the stamp of Israel Film Archive. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 10 x 8 inches. Near Fine.

Vintage studio still photograph taken on the set of the 1969 film, showing director Robert Frank capturing a passionate scene between two men. Stamp of photographer Tom Conroy on the verso. Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 10 x 8 inches. Near Fine.

Vintage reference photograph from the 1969 film, showing Allen Ginsberg with Peter and Julius Orlovsky. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 8 x 10 inches. Near Fine.

Vintage poster for the 1969 film, an experimental mix of documentary and fiction. Poster designed by Robert Frank. Director Robert Frank's first feature film, in which he follows poet Peter Orlvosky and his mentally ill brother Julius as they move through the late 1960s Beat scene, while Peter tries to care for his mostly catatonic brother. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin. The film examines the boundaries of reality and sanity, and features the screenwriting debut of Sam Shepard and the first feature film appearance of Christopher Walken. The film was restored and released by Steidl in 2007, along with a book publication outlining the film. From the Steidl book: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of a collage, and skillfully weaves together opposites, plays counterfeits against the authentic, pornography against poetry, acting against being, Beat cynicism against hippie romanticism, monochrome against colored. The story contains bizarre twists and turns, and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater." 26.75 x 20.75 inches. Near Fine. In a custom frame.